Tag: Cheap Pop

We are delighted that Chelsea Voulgares will be traveling from Chicago to Colorado this August for our first Flash Fiction Retreat! So happy to welcome you to the Rocky Mountains, Chelsea!

Nancy Stohlman: The biggest challenge most writers have is finding the time to write. How do you “retreat” in your day-to-day life in order to honor your creativity?

Chelsea Voulgares: It’s difficult sometimes to find the time and energy to write. I have a nine to five administrative job, but I’m very lucky to have my own office at home. My partner Rob and I bought a cute Chicago-style bungalow two years ago, and I was able to claim one of the small bedrooms on the first floor for myself. I spend a lot of time in there on the weekends, and each weeknight I try to write for at least an hour, right when I get home from my day job. I also try to use a few lunch hours per week to write. A closed door and some earplugs, that’s my retreat most of the time, and it’s usually pretty effective.

Nancy: Yes–being able to close the door to your own writing space is so important! Tell us about your relationship with flash fiction?

Chelsea: I started reading flash regularly after Amelia Gray published her amazing collection Gutshot. I think I’d written a few micros before that. Once I read that book, I started following the online magazines that publish flash, places like Corium and Cheap Pop, and quickly realized it was a genre with a lot of energy. A big group of extremely talented writers were crafting these gorgeous, fast, heartbreaking pieces. I read more, started trying to replicate what I saw, and then began sending out my own short-shorts. My first published piece of fiction ever was a micro-fiction I placed in Literary Orphans.

Nancy: I love Literary Orphans! What is the best piece of writing advice you ever received?

Chelsea: A few years ago I attended an Anthony Doerr lecture at the Tin House Summer Workshop, where he discussed something he called “Two Placed-ness.” I’m going to butcher this, but his idea was that the most interesting stories always occupy two spots of space-time. So, for example, the main character is eating a sandwich in the present, but she’s also remembering how her mom always put pickles on peanut butter sandwiches when she was growing up. Those two moments exist together in the story. That idea of “two placed-ness” really cracked fiction writing open for me.

Nancy: Wow, I love that idea of “two-placed-ness.” What piece of your own writing are you most proud of and where can we read it (if it’s available)?

Chelsea: I have the most fun writing work that has a silly or humorous side. I’m really proud of a piece I wrote in another of Kathy’s workshops called “Berta.” It’s about a teenager who works in a Halloween-themed ice cream shop with her sister, with whom she’s fighting. The shop’s mascot is the titular “Berta.” You can read the piece online at Bad Pony magazine.

Nancy: React to this quote: “This is the real secret of life — to be completely engaged with what you are doing in the here and now. And instead of calling it work, realize it is play.” ~ Alan W. Watts

Chelsea: Wow. I feel like I could learn a lot from Mr. Watts. I’m constantly distracted, not zen at all. I recently began writing longhand—that helps immensely with direct engagement, but I tend to approach everything very seriously, as if it’s all work. That doesn’t mean I don’t enjoy writing—I love it—but I tend to be very rigid with it. Not very playful.

Nancy: Oh I’m happy to introduce you to Alan Watts! I put a video at the end in case you want more. Now tell us something we don’t know about you?

Chelsea: A lot of people may already know this, but I love love love horror movies. My favorites are Alien, this indie horror film called Teeth, and the original Halloween.

Nancy: Anything else you want to add?

Chelsea: Yes! Two things, actually.

First, I run a literary magazine called Lost Balloon that publishes fiction, nonfiction, and prose poetry of 1,000 words and under. I’m always looking for submissions by talented flash writers. We have an open submission period the first week of every month, and our guidelines are on the website.

I also have a chapbook-length manuscript of flash fiction, and I’m looking for a publisher. It placed as a top-five finalist this year in the Gold Line Press Fiction Chapbook contest, and a different manuscript of mine (with a few of the stories from the current book) placed as Runner-Up in last year’s chapbook contest from Split Lip Press.

Nancy: Congratulations, Chelsea! Here’s wishing you success finding the right publisher and everyone check out Lost Balloon!

Chelsea Voulgares grew up in a Rust Belt town in Ohio, trapping lightning bugs and singing in the show choir. Now she lives in the suburbs of Chicago, where she edits the literary journal Lost Balloon. Her fiction has appeared recently in Passages North, JMWW Journal, Bad Pony, and Jellyfish Review. You can find her online at www.chelseavoulgares.com or on Twitter @chelsvoulgares.

NOTE: Want to join us on a Flash Fiction Retreat? Colorado is sold out but check out COSTA RICA and ITALY Retreats!

Nancy and I are so excited that the wonderful April Bradley will be joining us for Rendezvous in the Rockies this August in Breckenridge, Colorado! Here, April chats with me about her writing life and her story, “Little Wake,” which is my personal favorite.

You’re coming to Breckenridge in the summer for our retreat. What has been your writing workshop/retreat experience in the past? How do you find ways to honor your writing in your day to day life?

Along with several workshops with Kathy Fish and thematic ones on the craft of flash and revision offered by Nancy Stohlman, I’ve taken two hybrid writing workshops, one each with Robert Vaughan over at Word Tango and Jonathan Cardew with Bending Genres. I took a workshop on Surreal Flash from Meg Pokrass as well.

I met Kathy while taking Hannah Tinti’s fantastic workshop over at One Story. Last summer I began my MFA program and had my first academic fiction workshop at the Sewanee School of Letters with Jamie Quatro.

I read like a lunatic regardless if I am actively writing. I love the idea of honoring one’s writing. That’s so much better than feeling guilty about not writing.

Respond to this quote by Dani Shapiro:

“Writing saved my life. Writing has been my window — flung wide open to this magnificent, chaotic existence — my way of interpreting everything within my grasp. Writing has extended that grasp by pushing me beyond comfort, beyond safety, past my self-perceived limits. It has softened my heart and hardened my intellect. It has been a privilege. It has whipped my ass. It has burned into me a valuable clarity. It has made me think about suffering, randomness, good will, luck, memory responsibility, and kindness, on a daily basis — whether I feel like it or not. It has insisted that I grow up. That I evolve. It has pushed me to get better, to be better. It is my disease and my cure. It has allowed me not only to withstand the losses in my life but to alter those losses — to chip away at my own bewilderment until I find the pattern in it.”

This is such a wonderful expression of what writing can do for the life and mind of writer, and some of it articulates my own experience. I did not start writing fiction until I was in my 40s and found different ways of attaining and experiencing what she describes, mostly through my own graduate work in philosophy and theology and though my experiences in motherhood. Creative writing, however, pushed me in ways I’ve never imagined. I’ve cried, walked away from a story, swearing I was done with it, only to sit down and work with it more. Writing has been that only thing as Shapiro writes, “…has allowed me not only to withstand the losses in my life but to alter those losses…” Writing has revealed things to me about human nature I didn’t expect. It has revealed things about my own life and past I did not recall. Writing is closely related to reading and to other writers. Writing and reading opens up new worlds for me, allows me to me to express more fully the different aspects of myself but when it reaches others, and when readers tell me something I’ve written takes on meaning for them, there is the gift.

What is your favorite story that you yourself have written (“favorite” doesn’t have to mean “best” or more successful or whatever). And why is it your favorite?

My favorite is “Little Wake.” CHEAP POP published it last year, and I was thrilled. I managed to convey a moment in time and expand it to something so much more and capture the emotion I felt in that moment, that sense of magic, bittersweet loss, love, even a childhood fascination and an adult crush. I can still hear the frogs croaking along to Ob-La-Di, Ob-La-Da when I think about that story. Got lucky on that one.

Tell us something we don’t know about you that you are happy to share. : )

I meet people I know in unexpected, surprising places like in Venice or New York, in airports, concerts, interviews, courtrooms, emergency rooms. Neat things like that happen to me, and I love it.

Love that! And thanks so much, April. See you in Breckenridge in August!

April Bradley is from Tennessee and lives with her family outside New Haven, Connecticut. Her short fiction has been recently nominated for The Pushcart Prize as well as The Best of Small Fictions. Her writing has appeared in CHEAP POP, Hermeneutic Chaos Literary Journal, The Journal of Compressed Creative Arts, Narratively, NANO Fiction, and Smokelong Quarterly’s “Why Flash Fiction” Series, among others. She has a Master’s in Ethics from Yale Divinity School and is an MFA candidate at the Sewanee School of Letters.